Dishonorable or Heroic?: The 17th-Century Interpretation of Classical Heroines

In the 17th century, the role of women was seen as purely domestic. Their identity was in their husbands, and they had little to no power or voice. These women, captured from different Greek myths and history, had to submit to all male authority and were expected to confide in their households. But in the 17th century, a few artists, both male and female, including Claude Lorrain, Elisabetta Sirani, Rembrandt van Rijn, Artemisia Gentileschi, and Philippe Bertrand, created art that shared a different story of women than what was seen as the former and current cultural expectations of women. These artworks illustrate multiple stories of women breaking their cultural roles and fighting against their oppressors. Sometimes their actions were the only choice they had, and other times they had to choose between a dishonorable action that would be heroic or stay silent, whether that was burning their husband’s ships, committing suicide to keep their honor, or even killing a general to save their people. Subsequently, the question that these artworks ask is whether the actions of these women are dishonorable or heroic. Each piece I have picked is from the 17th century, most of which are in the Baroque style, but also includes one of the Greek Classical Sculptures. Ultimately, I believe that although these women’s actions may have been culturally dishonorable, they sacrificed for the good of others, and their sacrifice has lived on to tell the story of these women as heroes and, centuries later, still set an example for the women after them.

Artemisia Gentileschi, Esther before Ahasuerus

1620s

Oil on canvas, 82 in. × 8 ft. 11 3/4 in.

69.281

Artemisia Gentileschi, a female artist, daughter of Orazio Gentileschi, painted this scene of Esther appearing before her husband, ​​King Ahasuerus of Persia, influenced by the Baroque style. The story of Esther is one in which Esther, a Jewish woman, competes to win over the love and favor of King Ahasuerus of Persia. He selected her, not knowing that she was Jewish. During Esther’s time as queen, the King decrees a law to kill all Jews, influenced by his official name, Haman. Esther realizes her people are in danger, so she decides to approach the King without being summoned, which was an action punishable by death. She pleaded to the King to save her people and let him know that she is Jewish. Gentileschi creates a tension-building scene that accurately depicts the choice at stake for Esther. Her action of approaching the King without being summoned was a risk that she was willing to take to save her people.

Philippe Bertrandi, Lucretia

1704 or earlier

Marble, Overall (confirmed): 27 1/2 × 43 1/4 × 20 3/4 in.

2003.296, Gallery 548

In the 17th century, the female heroine wasn’t just a rising theme in Italian painting. There was also a similar rise in France, the femmes fortes. While the purpose of this sculpture’s creation isn’t exactly known, it is guessed that Bertrand created this piece to help secure his position in the Académie Royale de la Peinture et de la Sculpture in Paris. This sculpture is made out of marble, and it tells the story of Lucretia, who committed suicide out of shame, after she was raped by Tarquins. Her story has been captured by many artists and in many different ways, but Bertard captures her in the act of dying. Lucretia’s death or “self-sacrifice” fueled her family to revolt against the Tarquins. The dishonorable action of rape caused her to decide to commit suicide, but in doing so, she became a hero to her people. 

Claude Lorrain, The Trojan Women Setting Fire to Their Fleet

1643

Oil on canvas, 41 3/8 x 59 7/8 in.

55.119, Gallery 63

One of the only pieces from the book V of Virgil’s Aeneid, Claude Lorrain captures the Trojan women in revolt against their husbands. The Trojan women were tired of the continuous fighting, and with the aid of the goddess Juno and Iris, they decided to burn their ships, so that they were forced to stay on the new land, which they discovered, which, according to myth, is now Sicily. When Aeneas saw that they had burned some of the ships, he prayed to Jupiter. Jupiter sent a storm that saved most of the fleet. But the women’s decision to burn the ships changed Aeneas’ mind, and he let those who wanted to stay in the new land stay. The women had no voice that was heard, so they made noise by burning the ships. Lorrain paints this piece with historical accuracy that makes the woman the protagonist in this story.

Rembrandt van Rijn, Lucretia

1666

Oil on canvas, 43 3/8 x 36 5/16 in.

Minneapolis Institute of Art, 34.19, Gallery 311

Many artists have painted the story of Lucretia, but Rembrandt chose the scene right after she had stabbed herself. The painting shows the emotion of solemnness, but not fear or immense pain. Lucretia was married to Sextus Tarquinius, a nobleman. She was known as a woman of loyalty and virtue, thus driving her decision to commit suicide and protect her virtue, which, at the time of her life, was seen as more valuable than her life.

Elisabetta Sirani, Portia Wounding her Thigh

1664

Oil on canvas, 39.7 in x 54.3 in. 

The Stephen Warren Miles and Marilyn Ross Miles Foundation, Houston, USA

This is a painting of the known Portia, who wounded her thigh to prove her courage to her husband. This piece is a scene from the story of Plutarch’s Parallel Lives. Portia was seen as a woman and wife different from the expectations of other wives, who were believed to have lower intellects and be submissive. Portia was the wife of Marcus Brutus, who is known for being involved in the death of Julius Caesar. Portia knew of Brutus’ plans and wanted to prove her trustworthiness to Brutus. Sirati paints a front row seat to Portia’s courage displayed in this painting; she has depicted the moment when Portia decides to stab her leg without others knowing, to prove that she could be his secret keeper. She showed her wound to Brutus and told him of the courage she had, and he made her his secret keeper.

Artemisia Gentileschi, Judith and Her Maidservant with the Head of Holofernes

1623-1625

Oil on canvas, 73 11/16 × 55 7/8 × 1 5/16 in.

Detroit Institute of Arts, 52.253

Gentileschi, like many other artists, paints the story of Judith and the Head of Holofernes. This painting is a scene from the Jewish Bible. Judith and her maidservant beheaded the general of the Assyrian army to save Israel. Gentileschi paints the scene after which Judith has slain Holofernes. Other artists like Michelangelo de Carravaggio, whom Gentileschi imitates the use of dramatic light to show the intensity of this scene. Uniquely, Gentileschi includes the emotion of fear in Judith, different from other artists, and displays the courage that these two women had to face to save their people.